Silly Angel

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God, this episode was amazing. If they are all that good this season, I might pass out. Not only was it funny as hell and full of New York New Yorkiness, and brought back characters we love in a non-schmoopy way, but it began hinting at the reasons the show is coming to a close. Abbi's hitting a milestone birthday and wondering what's next, talking about kids and both of them envying Cheese, and Ilana's torn-up foot, indicating the vulnerabilities of age and the fact that they can't really get away with all the shit they got away with in their early 20s.
This show does our relationship with social media so much better than Grown-ish's slick, addicted, complicit take on it.

Wow, through the windmill and int the clown's mouth just to re-establish the Latrice/Valentina equilibrium. The producer manipulation is strong in this one. While I really enjoyed the episode, I didn't realize the game was so completely rigged until after it was over. And thanks, misleading interstitial, for making it look as if Latrice was Bendela-ing the joint again with her "bye-bye" gesture.
And is it me or are Ru's songs really hard to lip-sync to? They don't lend themselves to epic performances. I wish "Ladyboy" had been in the mix.

I was so over Manila with her performative cry-faces over Latrice (which, don't get me wrong--I LOVE me some Latrice Royale), but now I'm kind of falling for him again because of the sock garters. Werk those calves, girl!
Not that it's important, but I drank a weird blue cocktail, called the Aquacade in honor of Esther Williams, with Lady Bunny at some hidden bar on Church Street when we went to New York for the Stonewall 35 celebration. It was magical.

Aaand I'm out. These people are hateful and never mind why they would spend one minute with each other, I don't have to spend one more minute with them. I was willing to give Kate a chance to show she's a human being but I absolutely loathe women who are always undefinably "sick" and make everybody scramble to attend to their non-existent medical needs in order to get emotional attention.

According to the gif, Dylan knocks Donna into the pool (Dylan 2020!) which is water as far as the eye can see in the direction she falls, with the round bit front right of screen. Then she presumably catapults across the water or torques substantially to smack her dumb baby head on either the far end of the pool or the round protruding part. I keep watching it and it doesn't make sense either way.

I'm not being snarky here, but honestly asking whether this is supposed to be funny. How did any of these people saddle themselves with Jennifer Garner's character to begin with? I would understand if they are all micro-managing yuppie horrorshows, but she's a straight-up tight-ass they all seem semi okay--a little problematic, as we all are, but not impossible. And why would Nina-Joy (that name! Ugh) even show up if Katie was EVEN MORE of a cooze to her personally than she usually is to everyone? I'll watch the next one, but if it doesn't involves Miguel and Manic Pixie Juliette Lewis Girl (also known as Juliette Lewis 97% of the time) just doing their own thing and ignoring Katie and having fun, I'm out.
So many cliches among the characters! I'm not a huge Lena Dunham fan but she is capable of imagining more nuanced characters. The whole pilot read to me as a '90s "yuppies-in-the-wild" comedy, and about as unfunny.

Ok, I'm super late to the party but just realized this was back on. Busy Phillips is a national goddamn treasure, and that soft gray onesie thingie Amber Ruffins was wearing looked like the single most comfortable piece of clothing ever.
I know this show is hilarious but I learn so much about history!

That makes sense. They didn't bother to make her Tonya Hardingesque (in fact she looks like Nancy Kerrigan)or make mother sound as trashy as, say, Luanne, or whatever Ray's mother's name was. Trasherina von Meth, maybe.
Came here to clarify the light-up-the-bar situation. Unlike the unnecessarily elaborate speciality of the house served to Noah (one Flaming Idiot, coming up), the original was a trick pulled at a dive in the bowels of Hollywood called the Firefly. The Firefly's trick was to shut the doors, pour a line of brandy down the rail and light it up, necessitating some head-snatching-back among the sleepier denizens. The place was a hipster-barfly-shady character hangout in the late '80s-early'90s and I and my friends who worked at the Beverly Beat L.A. Weekly used to hang out there all the time, soaking in the atmosphere and gin. I actually got together with my husband of 25 years there on Halloween night, 1988. It was a great place to take New Yorkers who had spent all day bitching about how plastic and unreal Los Angeles was. You want real, motherfucker?
I can only imagine some writer had stumbled upon the place and stuck a bastardized version into the script, far too late for it to resonate among people who'd experienced the real thing, of per uzh.
Someone please enlighten me--why was Kelly a Bitch About It to Dylan? I honestly don't know.

Just catching up on this. None of the recaps seem to have taken note of the Twilight Zone episode "The Howling Man" playing on the TV, which is the first thing I thought of when they found The Kid and Lacy told ... i forgot who ... not to let that kid out. I guess i'm older than I thought. But it does strengthen my theory that every eerie/sociological/political/psychological fable to be told in our modern culture has been done by the Twilight Zone. Rod Serling covered his bases, yo.

I love how S-Town this episode got. The Jesse Ray Beaumont stuff pinged so many sensors for me (I JUST finally binged S-Town, so this is all fresh). I listen to a lot fo true crime podcasts and seeing it get parodied was a great relief from the relentless ugliness of it all. Please, please, please let the precious alchemy of this ridiculous show go on! We all need some dumb (and smart) laughs in our lives, now more than ever, etc.

This one hit me hard. It felt as if Issa had reverted 5 years to Awkward Black Girl status, with everything in her life relatively shitty, absolutely unable to say the right things, until she turned out to be the exact person Daniel needed at the exact time he needed her. Also, that characterization of Daniel as a man who sees any success in a peer as a zero-sum game--if X makes it, Y is a loser--was heartbreakingly familiar. I think it's more of a guy thing, but I've experienced it and never quite got why they believe that one book published by a friend means one less book published by you. It's self-defeating and pointless and not true but you can see how much it frustrates Daniel all the same. Great episode.
P.S. <shallow> Issa looked like a goddamn goddess in the Wine Down with that braid and that dress, her lips pursed a little as she nodded. Not to get weird, but I've always thought her beauty resided in that smile, which is like the sun coming out, but her serious face in that aftershow was a thing to behold.